Saturday, March 28, 2020

The Legend Of Heroes Trails Of Cold Steel III Free Download


Rean Schwarzer uncovers a dark plot that threatens his homeland. To face their enemies, he must prepare a new generation of heroes as an instructor at a new branch campus and guide them towards victory.

Nearly a year and a half has passed since the Erebonian civil war, and much has changed since then. From the shifting stances of countries to the internal politics of the Empire, and even the life of Rean Schwarzer, the shadows of the past have given way to the embers of a new chapter. Now graduated from Thors Military Academy, Rean has become an instructor at the Thors Branch Campus, a newly-opened academy that quickly finds itself thrust onto the national stage. It is here that he takes the lead of a brand new Class VII, and must guide a new generation of heroes into an unknown future. Though all is calm now, the nefarious Ouroboros organization continues to weave a dark plot that could engulf the entire continent in war…or perhaps something even more sinister.

Trails of Cold Steel III invites players into a world full of intrigue and excitement that is years in the making. They will embark on a whirlwind tour through the never-before-seen lands of the recently expanded Erebonian countryside, and encounter fresh faces as well as old friends familiar to fans of the series. In true Trails fashion, the deep, engaging story pairs with an incredible cast of characters and a combat system refined over decades of innovative RPG worldbuilding.

GAMEPLAY AND SCREENSHOTS
DOWNLOAD GAME:

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  The Legend of Heroes Trails of Cold Steel III Free Download
http://pasted.co/af29b5ae

INSTRUCTIONS FOR THIS GAME
➤ Download the game by clicking on the button link provided above.
➤ Download the game on the host site and turn off your Antivirus or Windows Defender to avoid errors.
➤ Once the download has been finished or completed, locate or go to that file.
➤ To open .iso file, use PowerISO and run the setup as admin then install the game on your PC.
➤ Once the installation process is complete, run the game's exe as admin and you can now play the game.
➤ Congratulations! You can now play this game for free on your PC.
➤ Note: If you like this video game, please buy it and support the developers of this game.

SYSTEM REQUIREMENTS:
(Your PC must at least have the equivalent or higher specs in order to run this game.)

Minimum:
• Requires a 64-bit processor and operating system
• OS: Windows 10/8.1/7 64-bit
• Processor: Core i3-2100 3.10 GHz
• Memory: 8 GB RAM
• Graphics: Geforce GTX 650 Ti
• DirectX: Version 11
• Storage: 25 GB available space
• Sound Card: Onboard

Recommended:
• Requires a 64-bit processor and operating system
• OS: Windows 10/8.1/7 64-bit
• Processor: AMD FX-8320 8-Core
• Memory: 16 GB RAM
• Graphics: Radeon R7 370
• DirectX: Version 11
• Storage: 25 GB available space
• Sound Card: Onboard
Supported Language: English, French, Italian, German, Spanish, Polish, Czech, Russian, Hungarian, Dutch, Danish, Portuguese, Finnish, Norwegian, Swedish, Korean, and Simplified Chinese language are available.

Movie/TV Reviews: Dunkirk, Blade Runner 2049, Stranger Things Season 2, The Big Sick, Frantz

See all my movie reviews.

Dunkirk - This is a fantastic Christopher Nolan movie, but not one I want to see multiple times. Okay, maybe one more time, but that's it.

The story is a slice of the evacuation at Dunkirk, the famous retreat of British (and French and Belgian) soldiers from France at the opening of WWII. While French soldiers held Germany at bay, Britain evacuated over 300,000 soldiers after expecting to only be able to rescue 30,000 or so. The evacuation was assisted by some air cover and by owners of small crafts, such as motor boats and so forth, taking the 25 mile sea trip to France and back. The beach was under attack a lot of the time.

The movie presents one week of the story of a foot soldier making several attempts to gain safety on a ship, interspersed with one day of the story of a civilian motorboat owner who travels to France to pick up some of the soldiers, interspersed with one hour of a pilot providing air cover. All stories converge by the end.

The interspersing of the stories was good in theory, but a little confusing due to the shifting time frames. There is no sensationalizing the war, either for or against. The stories are about fear, desperation, heroism and tragedy and survival, and how these are instantiated in humans. It's a war movie with little in the way of fighting; mostly it's about ducking and covering and running. But it's also about bravery and morality.  It is not presented as a traditional story.

The acting and directing are sensational, and so is the cinematography. Most sensational is the sound, which heightens the gripping visuals and makes them either pathetic or harrowing. Very beautiful, often educational, and a real demonstration of what movies can be. I can't remember if there are any women in the movie.

The Big Sick -  The best rom-com I've seen in quite a while, this was very funny and quite heartwarming. Written by and starring Kumail Nanjiani (Silicon Valley), it tells a fictionalized version of how Kumail met his American wife (played by Zoe Kazan) and the difficulty he/they endured from his parents (played byAnupam Kher and Zenobia Shroff) and (to a lesser degree) her parents (played by Holly Hunter and Roy Romano). The central part of the movie is a) the fact that his parents reject her because she is not Pakistani and b) that he spends a lot of time in the hospital with her parents when she suddenly falls into a coma ... after he had allegedly already broken up with her.

It's funny and it's touching. It's well acted and directed. But mostly, the script is great. It's funny. Worth seeing, especially on a date.

Frantz -  A reworking of a very old movie, this tells a story set just after WWI. A German woman goes every day to the cemetery to put flowers on the grave of her fiance Frantz who was killed in the war, and one day she meets a man ... a French man .. who also starts putting flowers on the grave. She is living with her former fiance's parents, and they are all grief-stricken. The Frenchman shows up, but anger and intolerance runs high. Until he says how he was great friends with Frantz and can't get over his death. This is kind of believable, since Frantz was a humanist, pacifist, and Francophile before the war. But ... what kind of relationship did this guy really have with Frantz?

As a modern viewer, our immediate suspicion is that the guy was Frantz's lover, something not even considered or asked by the protagonists in the movie. The movie confirms some things and then goes in other directions, and then in yet other directions. Intolerance runs on both sides of the border, lies are condemned but met with other lies, and who knows where it will all end up. Will they get together?

The movie is beautifully shot, costumed, and acted. The direction is lovely. It was enjoyable. However, it suffers from a few flaws that are the result of heavy handedness by the director. I will give a teeny example.

One of the scenes in Germany has this young Frenchman, all alone, while the German patrons, who have previously expressed their contempt for all people French, stand in a bar and sing their national anthem out of respect for Germany's soldiers. The Frenchman looks lost and even frightened. In the hands of a more competent director, we would expect to see the young lady at some future time in the movie, say, pass by a sports stadium or train station where French people are singing the national anthem. That would display the dichotomy without descending into heavy handedness. Instead, we see a scene where she is all alone, while the French patrons, who have previously expressed their contempt for all people German, stand in a bar and sing their national anthem out of respect for France's soldiers. Come on. I actually laughed out loud at this and said "Come on!" in the movie theater. And this kind of thing happens again and again. The Frenchman knocks on her (fiance's) parents door, and then later we see her knock at his family's door in an eerily similar shot. And on and on like this.

The director also shoots mostly in black and white but fades into color during certain scenes, which had the potential to be lovely (as it was in Pleasantville, Wizard of Oz, and other movies), but ended up also feeling heavy handed and obvious, essentially adding nothing to the movie that wasn't already patently obvious from the settings and story.

Honestly, I would have thought this was the director's second or third film, but it seems he has been making movies since the late 1980s. So he should know better.

Despite these misfires - and the fact that no blame is assigned to anyone for the war, it just kind of happened - the movie is otherwise lovely and sweet, with a story that really picks up and captivates you (especially after the first major reveal).

Blade Runner 2049 - It's good, although maybe not as good as it could have been. It fits seamlessly in with the first movie, without being a retelling of that movie, which is about as well as one could hope for.

The first Blade Runner had its faults - a little too much staring at visuals, a little undeveloped romance (even a little rape-y), a few plot-holes and inconsistencies - but it was beautifully filmed and acted, had an intellectual script unlike any other science fiction movie since 2001, and created a genre and look for many other movies to copy. This one doesn't really break any new ground; if anything, it feels like it inhabits the same space as Ghost in the Shell 2017. However, it has a few unique twists on the hero/destiny journey which make it rather brave in some ways. I suspect that its ending is a reason that it didn't perform overly well in the box office, but actually its ending is just right when you think about it.

As for its acting, visuals, plot, and directing, they're all good. I was confused about certain elements of the movie - how can androids have babies / grow up from being babies? What kind of biological functions do they have? Do their cells wear out? Do they go through teething, adolescence, and puberty? What do they eat, do they eliminate, and how do they metabolize? None of that makes any real sense.

I have to see it again to really get some of the confusion cleared up. In any case, it's certainly worth going to see.

Stranger Things (season 2) - Well, I just saw it and it blew me away, much like the first season did. There is really not much to say about it. It's a great story, starts off a little slowly for the first few episodes like last season, and then gets rip roaring. There are a few new characters and they are all fantastic.

The show is now part Andromeda Strain, part Aliens, and part Harry Potter. If it has any fault, it feels so neatly wrapped up that I can hardly imagine a need for another season. These two were just perfect.

Types Of Projects

When I started writing articles on my site, sometimes I had great results, like writing the hexagonal grid guide in 6 weeks, and sometimes I had terrible results, like writing article about curved roads in 5 months. I eventually realized that the difference was that with hexagons, I understood the topic well, but with curved paths, I spent most of the time trying to understand the topic. To make matters worse, because I had a high standard for my articles, I spent too much time trying to polish the article about curved paths, even before I understood it well.

Back in 2013 I decided to create a separate directory /x/YYWW-name/ where I'd put the lower effort and experimental pages, numbered by year and week. For example, 1942-isometric means year 2019, week 42. Over the last few years I've realized I do two different types of projects:

  • fixed scope, variable time, usually focused on explaining something
  • variable scope, fixed time, usually focused on learning or understanding something

The fixed time articles typically go into /x/. An unexpected benefit of these short unpolished experiments is that sometimes it lets me explore a set of topics that comes together into a larger polished project. The best example of this is my map generation work in 2017–2018. Back in 2017 I had started experimenting with map generation topics:

This structure let me try things quickly, and also abandon things quickly. Those of you who know garbage collection algorithms know that there are two general strategies: throw away the garbage, or keep the non-garbage. In my regular projects I follow the "throw away garbage" strategy, but in this experimental folder I follow the "keep non-garbage" strategy. Things that work I can copy into a new project. Things that fail I leave alone. When I wanted to produce mapgen4 in 2018, I went back through these small projects and picked the parts I could use, and turned that into a new big project.

People ask me if I share links to all the /x/ pages. I don't do this because I found that by not sharing at first, it increases how much I write. I don't start every page worrying about how to explain something, or cross-browser compatibility, or making things work on any machine other than my own. If something works out, I can then fix it up and share it. Many things don't work out, and then I can abandon them quickly. This strategy has been extraordinarily successful at getting me to write more. I started these in 2013, with 7 pages, and then 11 in 2014, 20 in 2015, 24 in 2016, 33 in 2017, 36 in 2018, and 27 in 2019 so far. The downside is that it's so much easier to write the /x/ pages that I am not making many of the regular pages. I'm annoyed with myself for that but I'm just going to have to accept it for now.

Friday, March 20, 2020

Missed Classic: Trinity - When Soviet Time-Traveling Robot Armadillos Attack

Written by Joe Pranevich


In Trinity, we traveled to the dawn of the nuclear age and attempted to change history. We failed and became trapped in a time loop with our mischievous roadrunner friend. I suppose there are worse ways to go. In the words of one famous time traveler, "Great Scott!"

But what if the game didn't end that way? Unlike most of the games we played, this is not just a rhetorical question. Infocom has always had a special place in the hearts of digital archeologists and a level of attention that arguably exceeds their real contribution to computer game history. This is in part thanks to Infocom's own newsletters, but also the preservation of memos and documents from the company itself. That gives us a view on just about everything from sales performance to standings within the local softball leagues. As recently as 2019, source code was placed online for most of the classic Infocom games. This would be fun all by itself, but in Trinity's case we are fortunate to have preserved notes on three separate versions of the game, starting from something akin to "Time Police" and ending with the version that we explored together. I had hoped to include this material with the Final Rating, but that post was long enough. Let's close out our coverage of Trinity with a look at three versions of the game that might have been.

Mirai Sentai Timerenger!

Trinity 0.1 - The Time Police
It all started with a dead bird. A cat proudly deposited the carcass on the doorstep of her owner, a Japanese school teacher who had received enough of these little offerings to recognize something out of the ordinary. She sealed the corpse in a plastic bag and brought it to a biologist at the nearby medical school. The remains were identified as Geococcyx californianus, a species native to the southwest corner of North America. What a roadrunner was doing in the vicinity of Nagasaki's Heiwa Koen (Peace Park) was anybody's guess.

The first of the three pitches is undated but likely written sometime in 1985, although it may have been during or after the development of Wishbringer. It shows the game at an embryonic stage, but already elements were coming together that we immediately recognize as the core of Trinity. Nuclear blasts, in addition to all of the damage that we can see, also pierced holes in the fabric of space and time. These holes connected the sites of those blasts in an as-yet unknown way, allowing a New Mexico roadrunner to end up in Nagasaki, whirlpools of coconut-filled boiling water to appear spontaneously over Utah, and many other such events. Scientists discovered and investigated these holes, but the military saw them as being little more than a curiosity. Without military application, who cares if reality is becoming Swiss cheese? That was until a defector revealed that the Soviets had not only discovered the holes, but that they had a plan of their own to use them.

I'll let Moriarty's own words describe the next part:
Such were the humble beginnings of Classified Defense Project #43112. Its official code name is Termite. But the people who got it going and keep it running like to call themselves the Time Police.

You play the role of a Sentry on duty at Project Termite's Alamogordo Station. It's your duty to monitor the Hole created by the first atomic explosion, and to make sure nobody is in there mucking around with the original Manhattan Project. You wouldn't want some other country to get The Bomb before we did, would you?

Grand Moff Who?

The pitch continues into a brief description of gameplay. Rather than directly interact with history, you have an "array of technological gadgets" resembling real birds and small mammals that act as your eyes and ears in the past. Your job is to ensure that history (and a very large bomb) go off without a hitch, without being spotted and potentially changing history yourself. On one fateful day, it is your responsibility to defend the United States from a two-fold attack by the Soviet Union. You have to defend both the Trinity site on the morning of the blast as well as "present day" Alamogordo Station. It sounds like a lot of fun, even if it is unclear how you would solve two sets of problems at once.

Back to Moriarty:
Meep, your trusty Electric Roadrunner, has detected an army of stainless steel armadillos closing in on the shot tower at Ground Zero. And there's something else lurking in that pre-dawn desert; a mysterious Presence that will eventually lock you in a bizarre three-way struggle against time. The future history of the world -- perhaps the fate of the universe itself -- depends on your courage and resourcefulness. No matter what happens, you MUST make sure that the first atomic bomb detonates precisely on schedule! It is 5:00 AM on July 16, 1945. You have twenty-nine minutes.

I understand why this pitch didn't get made, but boy does it sound fun. The mix of robotic avatars and having to balance two separate modes of play at once sounds a bit too much like Suspended and A Mind Forever Voyaging, but there is something perfect about the idea of the Soviets using an army of time-traveling robotic armadillos. Would the tone have been jarring against its premise? How much fun can you have in a story about nuclear armageddon? And both of those previous games struggled with balancing the multiple aspects of their gameplay; could Trinity have done better? It is also not clear how many of the "termite holes" you would explore, and Moriarty may not even have worked out those details yet. This pitch represents a great start and could have been a fun-- if very different-- game if it had come to fruition. I especially like the hard science fiction approach and the structure that being a part of "Time Police" could bring to the story.

You can read the full first proposal here: https://github.com/historicalsource/trinity/blob/master/tr1.txt

"Bridgeport?" Said I. "Camelot," Said he."

Trinity 0.5 - Magical Kingdom

The next version of the game, dated September 1985, takes us much closer to the Trinity that we know. The hard science fiction and robotic armadillos are gone, as is the "Time Police". Instead, the game takes a hard turn into straight up fantasy. The start of the game feels quite similar to the final product: you are an American tourist in London on the day that the bombs fell. You will have to "solv[e] a lighthearted puzzle or two" to escape from London. While the pitch does not say so explicitly, it's likely that Moriarty had already worked through much of the Kensington Garden experience. When the bomb drops however, the game takes a turn from what we would come to know:
"Inside" the duct, you discover a bizarre fantasy world where space and time are interchanged. The magical inhabitants of this twilight zone are wringing their 4-dimensional hands because our atom bomb tests are blasting big, unsightly holes in their otherwise peaceful universe. The only way to prevent the collapse of the entire kingdom is for some foolhardy adventurer to journey backwards in time to the first A-bomb test at Trinity, and prevent it from going off.

Armed only with the 3-D map of the Hole Matrix provided in the game package, the player ventures through a bewildering variety of exotic locations, solving puzzles, meeting unlikely characters and casting magic spells. But unknown forces are at work to foil your quest, and you soon find yourself caught up in a multidimensional war between two great empires who seek to control the Matrix. It all comes together during a spectacular climax in the New Mexico desert, where you must single-handedly decide the course of history in just 29 minutes of real playing time.
"My name is Peabody. I suppose you know yours."

The game sounds much more "Zorkian" with exotic locations and magic spells; in fact, I cannot help but wonder if the bombs wouldn't have opened the door just a smidge to the actual Great Underground Empire. This is all speculation, but Trinity's internal development code was "Z7". All of the previous codes (from "Z0" to "Z6") were for the Zork and Enchanter series, plus Wishbringer, which also took place in the same universe. "Z8" and "Z9" would later be given to Beyond Zork and Zork Zero. Trinity is the only game in that series of codes to not be a Zork game. Why? Could they have been aiming for a more generic fantasy game while using the "Z" code? Absolutely. Could they have left the door open for it being an implicit Zork sequel? Also yes, especially as this version of the pitch suggests that it was to be the first game in a new fantasy trilogy. We don't know, but it feels like there could be a truth hidden in there someplace.

The "Hole Matrix" hinted at in the description, plus the fantasy kingdom itself, feels like an alternate or early form of the "wabe" from the final game. It seems that you would explore many different areas all connected by the nuclear explosions to solve puzzles. Except for the lack of spells and explicit fantasy elements, most of the zones that we traveled to in the final game could have worked with this pitch. Only the "hub" that connected them, plus the lack of magical solutions, could be different from the game that we know.

The final open question for this version has to do with the endgame: how would a "real-time" ending sequence work? Would touch typists and faster computers automatically have an edge? This must have been a major goal because Moriarty mentions the real-time nature of the ending more than once in his summary, and yet he doesn't appear to have found a way to make it work. This is also the only version of the pitch to not include the roadrunner; I cannot but think that somehow these two problems are related! Other than being a humorous fantasy (rather than dour magical realism), this game has all of the elements of "our" version of Trinity. The puzzles and worlds may have differed, but this is recognizably the same game.

You can read the full second version of the pitch here: https://github.com/historicalsource/trinity/blob/master/tr2.txt

"My patience is wearing thin. I'm banishing you to a time warp from which you will never return!" - Oroku Saki

Trinity 0.9 - Almost There!

The final draft summary we have is from November 1985 and it is essentially the game that we came to play in digest form. In fact, this is the shortest pitch of the three and is detailed enough that Moriarty must have been fairly far along in his development process. The beginning and middle of the game appear to be exactly as we have played it:
The door transports you to a Zorkish fantasy world, centered around an enormous sundial that casts a long, moving shadow across the landscape. This improbable universe is littered with lots of giant toadstools, each equipped with its own magic door. Whenever the dial's shadow passes over a toadstool, the magic door opens, and you can visit a "real" historical place where somebody is about to explode an atomic bomb. Locations include an underground test site, a Siberian wilderness, a tropical atoll, a "Star Wars" orbital battlefield and a playground in Hiroshima.

The player has to explore every square inch of the fantasy world, figure out how to control the giant sundial, visit all the magic doors (in the right order) and solve a bunch of interconnected puzzles before he or she can tackle the seventh and final toadstool ... the Trinity test.

So far so good. I especially like the nod to my theory that he was explicitly aiming for "Zorkian", even if not the Great Underground Empire itself. And yet, Moriarty appears not to have cracked the final nut, how he would have run the end-game. This is not the three-way battle with robot armadillos from the earliest version, nor the real-time puzzles of the second, but something wholly different:
The player materializes in the test tower, only twenty-nine minutes before the Gadget is scheduled to detonate. The site is heavily guarded, and danger lurks behind every cactus. If you survive long enough to reach the control bunker, you'll meet a Who's Who of famous scientists, all intent on vaporizing your only way home. Can you stop the Bomb from going off? What will happen if you do? And what about those mysterious beings who keep making snide comments in the corners of your video screen? Are you being used?

I love the mystery being implied here, even if it is frustrating that we never got more than sniffs of it in the final version of the game that we played. Who was the mysterious voice in our ear? We never found out and it seems like perhaps Moriarty may have changed his mind about it more than once during development. Alas, we also never saw the "Who's Who" of famous scientists as the final endgame pivoted back towards the earlier ideal of causing as few ripples in history as possible. In fact, other than listening to humans on the radio, we interacted directly with absolutely no one in the endgame as we played it. There is not one "famous scientist" in there at all!

You can read the full third version of the pitch here: https://github.com/historicalsource/trinity/blob/master/tr3.txt

"Okay, um, how do I explain this concisely? This is Tuesdays... and also July."
"And sometimes, it's never."

Moving On

I hope you enjoyed these brief looks at alternate versions of Trinity. I am glad that we were able to experience the final version of the game, but there are many neat ideas presented across these several drafts that would have been fun to experience in some way. Ultimately, the ending of Trinity isn't perfect. The puzzles are too difficult and too many elements are left unexplained and unresolved. The nature of the time loop doesn't give us a sense of finality, especially after we looted our own paradoxical corpse. It seems from these documents that while the only aspect of Trinity that did not change from draft to draft was the final confrontation in the desert, the actual mechanics of that endgame experience did not come into focus until late in his design process. I wish we had these documents for more games to give us a basis for comparison, but what we have is a fascinating, if all too brief, window into how the sausage was made.

With this last side avenue explored, I am finally ready to tackle some Leather Goddesses. You can expect a mini-review of that soon.

With the spread of Coronavirus around the world, I want to take this moment to wish for safety and health for all of our readers and their families. Stay well.

Thursday, March 19, 2020

Solo Gaming

What's going on everyone!?


Today was a bit hectic and I was running out of time to get a game in but I was able to get a solo game of Carcassonne played on the awesome mobile app. 

Thankfully I was able to grab a glorious win for the day!

As always, thank you for reading and don't forget to stop and smell the meeples! :)

-Tim

Hiring: 3D Art Lead



Title: 3D Art Lead
Focus: Pipeline development, 3D modeling
Type: Full-time, permanent
Last day to apply: 8th of September 2019
Location: Sweden, applicants residing in European countries welcome


A door swings open, a dim light beckons you to come step further, pick up the dusty items, give them a long look before venturing forward, the architecture leading you ever deeper. Frictional's games are filled with intrigue and emotion, the art subtly guiding  the players. To keep up the illusion of a living world, the execution has to be consistent across the board.

This is where you come in.


What will you work on?

We are looking for an experienced 3D Art Lead to join Secret Project #2. This is a senior position, meaning you will have responsibility over foundational elements of the project. You will work closely with other team leads, such as the creative lead and art lead.

Right now Secret Project #2 is in pre-production, which means that you would find yourself working on establishing pipelines and practices for a good workflow.  On the creative side you will be working within the established style of the game – creating art, researching and documenting. The 3D art you would work on include architecture and complicated props, as well as putting everything together into functional and beautiful environments..

Once the project shifts into production, your role will involve more lead work. You will find yourself communicating with other employees and outsourcers, making sure tasks get assigned and done, and giving feedback. Alongside you will still be able to participate in creating art.

As a small team, everyone in the company has a wide variety of responsibilities as well as rights, but we consider that our strength – no day in development will look the same!


What are we looking for?

You have to be a European (EU/EEA) resident to apply. We cannot consider other applicants.

The person we're looking for is creative, self-motivated, and comfortable in a lead position. We need you to fulfill the essential requirements, but are flexible with how you have acquired your experience.

We welcome applicants regardless of background, situation, sexual orientation, religion, and similar, so don't let anything like that hold you back from applying!

Here are the essential requirements:
  • Knowledge in 3D asset creation pipelines in digital games
  • Being up to date with the latest trends in 3D art tools and techniques
  • Not being afraid to give feedback to coworkers and outsourcers
  • Substance Designer skills in creating procedural textures
  • Ability to adjust artwork based on an established art style
  • Major role in at least one released title (not as a student/intern/trainee)

And here are some more technical skills:
  • Experience with face weighted normals
  • Experience with trim sheets and tiling textures
  • Experience in Medium Poly Modeling
  • Knowledge in Modo, or willingness to learn it as a main 3D modeling tool
  • Some technical art knowledge (you will not have to create anything from scratch, but you should be able to communicate your needs to the programmers, or have suggestions such as saving performance on assets)

If you want to impress us:
  • Experience with character art and/or organic art
  • Knowledge in blendshapes
  • Knowledge in motion capture
  • Experience with scripting tools in Modo
  • Experience with Marvelous Designer
  • Experience in  setting up lighting and doing basic level set dressing
  • Love for hard sci-fi
  • Penchant for bold design

What do we offer?

We at Frictional make games, because making games is what we love. But we know that's not all there is – there's also playing games, doing sports, or spending time with loved ones. We believe that a healthy balance between work and life creates positive ripples throughout, which is why we discourage crunch.

We also offer:
  • Variety in tasks
  • Opportunities to influence your workflow and workload
  • Flexible working hours
  • Participation in internal Show & Tell sessions for both projects, meaning giving feedback to and receiving feedback from all members of the projects
  • An inclusive and respectful work environment

We welcome remote applicants from European (EU/EEA, UK) countries. However, you are welcome to join us in our office in Malmö if you live in the area, or would be willing to relocate after the trial period.


Apply!

If all of the above piqued your interest, we would love to hear from you! Send us your application 8th of September 2019 the latest - but the sooner, the better! Please attach your:
  • Cover letter
  • Why should we hire YOU?
  • CV
  • Portfolio (link and/or PDF)
  • Answers to preliminary questions (see below)

Send your application to apply@frictionalgames.com!

Please note that we require all the attachments to consider you.


Preliminary questions

Please provide a document answering the following questions:
  1. When is the earliest you could start working?
  2. Tell us about the daily work you did on your last finished game project.
  3. Name two games you think have high quality 3D art. Explain why.
  4. Imagine you are in charge of the 3D art pipeline for a new sci-fi game. Name the top 3 things you think need to be included.

If you are not living in Sweden, please also answer the following:
  • Do you have the ability to invoice?
  • What kind of hardware do you have?
  • What kind of internet connection do you have?


Wonder how we hire? Read our blog on How we hire at Frictional Games.
What kind of application are we looking for? Read our blog on Writing the best application for a Frictional Games job.


Privacy Policy

By sending us your application, you give us permission to store your personal information and attachments.

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Storium Basics: Multi-Card Moves

Welcome back to Storium Basics, where I'm covering general aspects of Storium play that I think are helpful to know as you get started. Today, I'm going to cover a slightly more advanced element of Storium. Today, we're talking about multi-card moves.

I've already gone over the basics of making a Storium move with a single card back in Storium Basics: Challenges and Cards. For a quick refresher, you'll select a challenge, select a card, and then write a move that demonstrates how that card's trait comes into play and affects that challenge, based on the type of card that you've selected, the challenge, the possible challenge outcomes, the card's description, and the current status of the challenge and scene.

When you're making a multi-card move, all of that still applies. There's nothing that different about making a multi-card move than making a single-card move...it's just that now you have more than one trait to play to during the move.

If you've played two Strengths, say...Determination and Quick-Thinking...you write it like you'd normally write a Strength move. You just play up both traits - show how your determination and your ability to think quickly help you move the challenge in a positive direction. Now, bear in mind that you've taken up two challenge points and have moved the challenge positive by two Strengths, as well, so you probably want to make this feel like a stronger impact than for a normal move too - but what matters most is making sure both traits feel like they impact the scene.

If you've played two Weaknesses...say, Hotheaded and Easily Mislead...it's the same thing, just in reverse. Write a Weakness move, but play up both traits, and make it a stronger impact than you would for just one card. You've just pushed the challenge much closer to a conclusion and pushed it much closer to the Weak outcome. Show that.

Where things get fascinating, though, is when you mix card types. Those moves can be some of the most fun in Storium.

What if you have a Strength and a Weakness? Maybe you appear to make things better for a moment, then lose your own gains. Or maybe you slip up and start to make things worse, but manage to turn things around and start clawing the situation back out of the very hole you were digging. Or maybe you make things worse in one way, but set things up to turn around in another. You can write some very, very complex and cool moves by playing multiple cards.

Neutral cards are loads of fun to throw in this way too. Your Subplot in particular can be quite a powerful storytelling device when used with a Strength or Weakness - you can show how your subplot influenced the actions that express the Strength or Weakness, for instance, or show how your Strength or Weakness had effects and ended up impacting not just the situation, but your views of yourself or what your subplot is all about. This can work similarly with Goals.

And Assets? Well, you have a magic sword, sure, and sometimes you might want to highlight that on its own...but it can be very cool to play it with a Strength card and show how your ability to use the sword well or intelligently matters, or a Weakness card and show that despite the magic of the sword, you still get yourself in trouble...or maybe even because of the magic! Are you Overconfident? Maybe you rush ahead because you have a magic sword, and things turn out badly. Are you Inexperienced? Maybe you try to use the sword's powers and make a mistake, hurting your own side's chances.

And it doesn't stop at just two cards. You can play up to three cards per move with the default settings for Storium - and with custom card settings, it might go even further! Just remember to think of the number of cards you're playing, and how far you are pushing the challenge forward, when you play these sorts of moves.

Now...I want to also put in one word of caution. Multi-card moves are an option in Storium, but different games, players, and narrators will have different feelings about them. If your narrator specifies any kind of restrictions on these, or preferences for you to play single-card moves in general, or what-have-you, follow those. The rules of your individual game are as important or more important than the rules of Storium. And even if these moves are allowed (they generally are), it's best to be careful with them - if you're pulling these out all the time, you can shut other players out of playing on challenges at times, and that can be bad for game morale and a collaborative spirit.

I myself like to play these sorts of moves on longer challenges, generally - those I won't just wrap up in one move by playing multiple cards. I will sometimes pull them out in shorter ones specifically to take the challenge, but in those cases I'll generally check first (or be working in a scene where the narrator has made it clear that's exactly what he expects).

If you'd like to know more about multi-card moves, and Storium move philosophy in general, you can take a look at these articles:

Sunday, March 15, 2020

Book Review - The Italian Wars Part 1 Helion Publishing


Something I've not done before, a Book Review, Yarkshire Gamer is turning into Radio 4 I hear you cry !

To make life easier the extensive Production Crew at Yarkshire TV have done a little 5 minute feature on the book.


The book can be purchased direct from the publisher on the link below, £19.95 including post and packing,

https://www.helion.co.uk/military-history-books/the-italian-wars-volume-1-the-expedition-of-charles-viii-into-italy-and-the-battle-of-fornovo.php


There are 128 pages with black and white illustrations throughout and colour plates (example above) in the centre.

It contains everything you would expect from a Book of this type, history, armies involved, battle description etc, I particularly liked the modern day photos of the field and also the "orbat" in the Appendix.


So in short everything I needed a year ago when I started my army ! Is there a conspiracy 🤔 plenty of new ideas for units going ahead. Definitely Recommended


Thursday, March 5, 2020

A Close Race!

What's going on everyone!?


Today for the #2019gameaday challenge my dear ol' dad and I played a game of Ticket to Ride. 

It was a very close game and surprisingly I came away with the win somehow! 

As usual, it was a good game and he sure doesn't make it easy, lol.


As always, thank you for reading and don't forget to stop and smell the meeples! :)

-Tim

(106 MB) Download Hitman 3 Contracts Game Highly Compressed For Pc

Download Hitman 3 Contracts Game Highly Compressed For Pc


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Before you start Hitman Contracts Free Download make sure your PC meets minimum system requirements
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Google Pinches God Of War Studio Head To Lead New Stadia Studio - Eurogamer

Google pinches God of War studio head to lead new Stadia studio

Wednesday, March 4, 2020

Tech Book Face Off: Getting Clojure Vs. Learn Functional Programming With Elixir

Ever since I read Seven Languages in Seven Weeks and Seven More Languages in Seven Weeks, I've been wanting to dig into some of the languages covered by those books a bit more, and so I've selected a couple of books on two interesting functional languages: Clojure and Elixir. For Clojure I narrowed the options down to Getting Clojure by Russ Olsen, and for Elixir I went with Learn Functional Programming with Elixir by Ulisses Almeida. You may notice that, like the Seven in Seven books, both of these books are from The Pragmatic Programmers. They seem to pretty consistently publish solid, engaging programming books, and I was hoping to have more good luck with these two books. We'll see how they turned out.

Getting Clojure front coverVS.Learn Functional Programming With Elixir front cover

Getting Clojure

I remember thoroughly enjoying Russ Olsen's Eloquent Ruby years ago, so my expectations were already set for this book. Olsen did not disappoint. While Getting Clojure is an introductory programming language book instead of a guide on the idioms and best practices of the language, like Eloquent Ruby was, he brings the same clear, concise writing, and nails the right balance between covering the minutia and sketching an overall picture of Clojure without boring the reader to tears.

Programming books that aim to teach a language from front to back can easily fall into the trap of spending too much time on all of the gory details about the language's arithmetic and logic systems or every possible control structure. Maybe it's because Clojure is a simple and straightforward language that doesn't have the complications that other languages have in these areas, but this book was a very easy read through these normally tedious parts. Olsen assumes the reader is already a programmer with a couple languages under their belt, so he lays out the mundane facts in a succinct, orderly manner and moves on to the more interesting bits.

Chapters are short and evenly spaced, each focusing on one small part of Clojure, starting off with the basics of arithmetic, variables, data types, logic, functions, and namespaces. Each chapter has sections at the end for discussing how to stay out of trouble when using those language features and what those features look like in actual Clojure programs. After the basics he covers the more intermediate topics of sequences, destructuring, records, tests, and specs before finishing things up with inter-operating with Java, working with threads, promises, futures, and state, and exploring the power of macros. It's a logical order that flows nicely, with later chapters building on earlier material through a gentle learning curve. I never felt stuck or frustrated, and I could read through a few chapters in a sitting at a rapid pace. That's testament to excellent technical writing skills that allow an experienced reader to go through the book at speed.

One fascinating thing about this book, and I imagine every Clojure book, is how little time is spent explaining syntax. Clojure is a Lisp-style language, so syntax is kept to a minimum. What do I mean by that? Well, the basic syntax of Clojure is a function call, followed by its arguments, both wrapped in parentheses like so:

(println "Hello, World!")

Vectors are denoted with [] and maps follow the form of {:key1 value1 :key2 value2}. Nearly all of the code looks like this, just with more complicated nesting of functions. After learning the standard library functions, you know and understand about 90% of the language! The more advanced language features like promises and macros add some more syntactical sugar, but really, compared to C-style languages, Clojure's syntax is incredibly lightweight. Some programmers may hate all of the parentheses, and the prefix arithmetic notation takes some getting used to, but learning a language that's so consistent in its structure is enlightening.

Not only does Clojure have the elegance of a Lisp, but it also runs on the JVM so we have access to all of the Java libraries that have been built up over the last few decades. That may not always seem like a benefit, considering how convoluted some Java libraries are, but Clojure has its own great features that should take precedence over the uglier parts of Java while still being able to leverage all of the time-saving work that's been done already.

Plus, Clojure has made significant advances in modern concurrent programming, both through its inherent nature as a functional language with immutable data structures, and because of safe concurrent programming structures like promises and futures. As Olsen says about threads, "One of the things that makes programming such a challenge is that many of our sharpest tools are also our most dangerous weapons." If concurrency is anything, it's hard, but Clojure makes this increasingly important programming paradigm easier and safer, as long as you know how to use those sharp tools.

Olsen has done a great job of teaching the set of tools available in Clojure with this book, and beyond it being clear and well written, it was a fun read all the way through. I love learning new languages and the new programming tools that they reveal, especially when I can find a great field guide like this one to help me along the way. If you don't know Clojure and would like to learn, Getting Clojure is a highly recommended read.

Learn Functional Programming with Elixir

Like Clojure, I wanted to dig more deeply into Elixir after reading about it in Seven More Languages in Seven Weeks. This book showed some promise as a quick introduction to the language that would focus on the functional programming paradigm. I think the title is a bit of a misnomer, though, because it was more on the side of a quick introduction to Elixir, which just happens to be a functional language. Almeida did not go into too much detail about how to use the functional paradigm to greatest advantage, and instead stuck to the basics.

Spending time on the basics is fine, of course. It just wasn't what I was expecting. The book is split into seven chapters that cover a quick introduction of what Elixir looks like, variables and functions, pattern matching and control flow, recursion, higher-order functions (like each, map, and filter), an extended example text game, and impure functions. Notably missing from this list is anything having to do with concurrency and parallelism—Elixir's primary claim to fame, being that it runs on the Erlang VM. But this is a beginner's book, after all, and it keeps things pretty simple, although the pace is probably too fast and the explanations too short for someone who has never programmed before. This book is definitely meant for experienced programmers looking to get started with Elixir quickly.

In that respect, the book accomplishes its goal quite well. It presents all of the basic features of Elixir in a logical and succinct manner, covering all of the different syntax elements of the language without much ceremony. Elixir has its fair share of syntax, too, much more so than Clojure does. Whereas Clojure consists entirely of function calls, Elixir syntax is much more exotic:

max = fn
x1, x2 when x1 >= x2 -> x1
_, x2 -> x2
end
This is a simple function that returns the maximum of two numbers, but it shows some of the more extensive syntax of Elixir with pattern matching on the second and third lines, the when guard clause, the underscore used as a wildcard matcher, and the anonymous function declaration. When this function is called, if line 2 matches, including the guard clause such that x1 >= x2, then x1 is returned. Otherwise, line 3 will match automatically and x2 is returned. This is just a sampling of syntax, too. Things get even more involved with lists and maps and function arguments, all mixed in with pattern matching and pipes. This is a rich language, indeed.

The brief explanations of all of these language features tended to be a bit wanting. They were so clipped and simple that I was often left wondering if there wasn't much more to some of the features that I was missing. The writing style was abrupt and disjointed to the point of being robotic. Here is one example when discussing recursion:
Code must be expressive to be easier to maintain. Recursion with anonymous functions isn't straightforward, but it is possible. In Elixir, we can use the capturing feature to use named function references like anonymous functions:
Here's another example when describing the Enum module:
The Enum functions work like our homemade functions. The Enum module has many useful functions; it's easy to guess what they do from their names. Let's take a quick look:
This kind of writing just starts to grate on me because it has no natural flow to it. I would end up skimming over much of the explanations to try to pick out the relevant bits without feeling like I might be assimilated by the Borg.

Most of the code examples were forgettable as well. They did an adequate job of showing off the language features that they were meant to showcase, but they certainly didn't serve to inspire in any way. On the other hand, chapter 6 on the extended example of a text game was quite delightful. This chapter made up for most of those other faults, and made the book almost worthwhile.

In the example game, you code up a simple text-based dungeon crawler where you can pick a hero and move through a dungeon fighting monsters. It's an incredibly stripped down game, since it's developed in only about 35 pages, but it shows Elixir in a real application setting, using all of the language features that were introduced in the rest of the book. It was fun and illuminating, and I wish the rest of the book could have been done in the same way, explaining all of the Elixir syntax through one long code example.

Alas, it was not done that way, but even though the rest of the book was terse and didn't cover some of Elixir's more advanced features, it was still a decent read. It was short and to the point, making it useful for a programmer new to Elixir that needs to get going with the language right now. For anyone looking to learn Elixir more thoroughly, and maybe more enjoyably, you'll want to look somewhere else.


Of the two books, clearly Getting Clojure wins out over Learn Functional Programming With Elixir. Olsen showed once again how to write a programming book well, while the Elixir book was mechanical and insufficient. That's great if you're in the mood to learn Clojure, but what about Elixir? It's a fascinating language, but I'll have to look further to find a good book for learning the details.

Suikoden (PSX)

Suikoden playstation title screen pal europe
Developer:Konami|Release Date:1997 (1995 in Japan)|Systems:PlayStation, Saturn, Windows

This week on Super Adventures, I'm finally getting around to Suikoden, a game that's been sitting on my shelf for ages. I borrowed it from a friend a while ago and he moved away before I could give it back, so it's just been lying there ever since, unplayed. Until today!

I knew the game was an JRPG when I borrowed it (one of the earliest RPGs on the PlayStation in fact), but I had no idea what the title was about. Typically Japanese games will get an English title when they're released in the West (except for games like Final Fantasy and Dragon Quest which had an English title from the start), but for some reason this has remained Suikoden.

Turns out that it's loosely based on a novel of the same name. Well, that's the name it has in Japan anyway. It's actually a Chinese novel called Shui Hu Zhuan, one of the four great classic novels of Chinese literature (along with Romance of the Three Kingdoms, Journey to the West and Dream of the Red Chamber), and in English the title translates to... Water Margin. Probably for the best they left it as Suikoden.

Read on »